|
Showing 1 - 12 of
12 matches in All Departments
Tonal Analysis: A Schenkerian Perspective features bite-sized
chapters that help students recognize Schenkerian concepts in music
and show them in analyses. An innovative new analysis pedagogy
guides students through the process of producing their own
Schenkerian graphs.
Chopin's oeuvre holds a secure place in the repertoire, beloved by
audiences, performers, and aesthetes. In Harmony in Chopin, David
Damschroder offers a new way to examine and understand Chopin's
compositional style, integrating Schenkerian structural analyses
with an innovative perspective on harmony and further developing
ideas and methods put forward in his earlier books Thinking about
Harmony (Cambridge, 2008), Harmony in Schubert (Cambridge, 2010),
and Harmony in Haydn and Mozart (Cambridge, 2012). Reinvigorating
and enhancing some of the central components of analytical
practice, this study explores notions such as assertion, chordal
evolution (surge), collision, dominant emulation, unfurling, and
wobble through analyses of all forty-three Mazurkas Chopin
published during his lifetime. Damschroder also integrates analyses
of eight major works by Chopin with detailed commentary on the
contrasting perspectives of other prominent Chopin analysts. This
provocative and richly detailed book will help transform readers'
own analytical approaches.
This innovative book continues David Damschroder's radical
reformulation of harmonic theory, presenting a dynamic exploration
of harmony in the compositions of Mendelssohn and Schumann, two key
figures of nineteenth-century classical music. This volume's
introductory chapters creatively introduce the basic tenets of the
system, with reference to sound files rather than notated music
examples permitting a more direct interaction between reader and
music. In the Masterworks section that follows, Damschroder
presents detailed analyses of movements from piano, vocal, and
chamber music, and compares his outcomes with those of other
analysts, including Benedict Taylor, L. Poundie Burstein, and Peter
H. Smith. Expanding upon analytical practices from the eighteenth
and nineteenth centuries, and strongly influenced by Schenkerian
principles, this fresh perspective offers a stark contrast to
conventional harmonic analysis - both in terms of how Roman
numerals are deployed and how musical processes are described in
words.
Chopin's oeuvre holds a secure place in the repertoire, beloved by
audiences, performers, and aesthetes. In Harmony in Chopin, David
Damschroder offers a new way to examine and understand Chopin's
compositional style, integrating Schenkerian structural analyses
with an innovative perspective on harmony and further developing
ideas and methods put forward in his earlier books Thinking about
Harmony (Cambridge, 2008), Harmony in Schubert (Cambridge, 2010),
and Harmony in Haydn and Mozart (Cambridge, 2012). Reinvigorating
and enhancing some of the central components of analytical
practice, this study explores notions such as assertion, chordal
evolution (surge), collision, dominant emulation, unfurling, and
wobble through analyses of all forty-three Mazurkas Chopin
published during his lifetime. Damschroder also integrates analyses
of eight major works by Chopin with detailed commentary on the
contrasting perspectives of other prominent Chopin analysts. This
provocative and richly detailed book will help transform readers'
own analytical approaches.
David Damschroder's ongoing reformulation of harmonic theory
continues with a dynamic exploration of how Beethoven molded and
arranged chords to convey bold conceptions. This book's
introductory chapters are organized in the manner of a
nineteenth-century Harmonielehre, with individual considerations of
the tonal system's key features illustrated by easy-to-comprehend
block-chord examples derived from Beethoven's piano sonatas. In the
masterworks section that follows, Damschroder presents detailed
analyses of movements from the symphonies, piano and violin
sonatas, and string quartets, and compares his outcomes with those
of other analysts, including William E. Caplin, Robert Gauldin,
Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet
Schmalfeldt. Expanding upon analytical practices from the
eighteenth and nineteenth centuries, and strongly influenced by
Schenkerian principles, this fresh perspective offers a stark
contrast to conventional harmonic analysis - both in terms of how
Roman numerals are deployed and how musical processes are described
in words.
David Damschroder's ongoing reformulation of harmonic theory
continues with a dynamic exploration of how Beethoven molded and
arranged chords to convey bold conceptions. This book's
introductory chapters are organized in the manner of a
nineteenth-century Harmonielehre, with individual considerations of
the tonal system's key features illustrated by easy-to-comprehend
block-chord examples derived from Beethoven's piano sonatas. In the
masterworks section that follows, Damschroder presents detailed
analyses of movements from the symphonies, piano and violin
sonatas, and string quartets, and compares his outcomes with those
of other analysts, including William E. Caplin, Robert Gauldin,
Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet
Schmalfeldt. Expanding upon analytical practices from the
eighteenth and nineteenth centuries, and strongly influenced by
Schenkerian principles, this fresh perspective offers a stark
contrast to conventional harmonic analysis - both in terms of how
Roman numerals are deployed and how musical processes are described
in words.
One of Western music's great harmonists, Franz Schubert created a
wondrous and treasured body of music that has retained its
fascination to this day. His innovative harmonic practice has been
a topic of lively discussion among analysts for generations.
Harmony in Schubert presents a fresh approach, yielding insightful
readings of a large and varied range of excerpts, as well as
readings of fifteen complete movements spanning Schubert's chamber,
choral, orchestral, piano, and vocal output. Damschroder
reformulates the apparatus for Roman-numeral harmonic analysis,
integrating his own speculations with various strands of historical
analytical thought, including Schenkerian principles and historical
perspectives. In addition, he juxtaposes his readings of complete
movements by Schubert with discussions of how they have been
interpreted by other Schubertian analysts. The book sets a new
direction for the future of music analysis, proposing innovative
improvements on existing methodologies.
Integrating Schenkerian tools and an innovative approach to
harmony, David Damschroder provides numerous penetrating analyses
of works by Haydn and Mozart. A series of introductory chapters
assist readers in developing their analytical capacity. Beginning
with short excerpts from string quartets, the study proceeds by
assessing the inner workings of twelve expositions from Haydn piano
sonatas, six arias in G minor from Mozart operas, and three rondos
in D major from piano concertos by Haydn and Mozart. In the
Masterworks section that follows, Damschroder presents detailed
analyses of six movements from symphonies, string quartets and
opera by Haydn and Mozart, and compares his outcomes with those of
other analysts, including Kofi Agawu, Robert O. Gjerdingen, James
Hepokoski and Warren Darcy, Carl Schachter and James Webster. The
book represents an important contribution to modern analytical
discourse on a treasured body of music and an assessment of recent
accomplishments within that realm.
Integrating Schenkerian tools and an innovative approach to
harmony, David Damschroder provides numerous penetrating analyses
of works by Haydn and Mozart. A series of introductory chapters
assist readers in developing their analytical capacity. Beginning
with short excerpts from string quartets, the study proceeds by
assessing the inner workings of twelve expositions from Haydn piano
sonatas, six arias in G minor from Mozart operas, and three rondos
in D major from piano concertos by Haydn and Mozart. In the
Masterworks section that follows, Damschroder presents detailed
analyses of six movements from symphonies, string quartets and
opera by Haydn and Mozart, and compares his outcomes with those of
other analysts, including Kofi Agawu, Robert O. Gjerdingen, James
Hepokoski and Warren Darcy, Carl Schachter and James Webster. The
book represents an important contribution to modern analytical
discourse on a treasured body of music and an assessment of recent
accomplishments within that realm.
Focusing on music written in the period 1800-1850, Thinking about
Harmony traces the responses of observant musicians to the music
that was being created in their midst by composers including
Beethoven, Schubert, and Chopin. It tells the story of how a
separate branch of musical activity - music analysis - evolved out
of the desire to make sense of the music, essential both to its
enlightened performance and to its appreciation. The book
integrates two distinct areas of musical inquiry - the history of
music theory and music analysis - and the various notions that
shape harmonic theory are put to the test through practical
application, creating a unique and intriguing synthesis. Aided by
an extensive compilation of carefully selected and clearly
annotated music examples, readers can explore a panoramic
projection of the era's analytical responses to harmony, thereby
developing a more intimate rapport with the period.
Focusing on music written in the period 1800 1850, Thinking about
Harmony traces the responses of observant musicians to the music
that was being created in their midst by composers including
Beethoven, Schubert, and Chopin. It tells the story of how a
separate branch of musical activity - music analysis - evolved out
of the desire to make sense of the music, essential both to its
enlightened performance and to its appreciation. The book
integrates two distinct areas of musical inquiry - the history of
music theory and music analysis - and the various notions that
shape harmonic theory are put to the test through practical
application, creating a unique and intriguing synthesis. Aided by
an extensive compilation of carefully selected and clearly
annotated music examples, readers can explore a panoramic
projection of the era's analytical responses to harmony, thereby
developing a more intimate rapport with the period.
One of Western music's great harmonists, Franz Schubert created a
wondrous and treasured body of music that has retained its
fascination to this day. His innovative harmonic practice has been
a topic of lively discussion among analysts for generations.
Harmony in Schubert presents a fresh approach, yielding insightful
readings of a large and varied range of excerpts, as well as
readings of fifteen complete movements spanning Schubert's chamber,
choral, orchestral, piano, and vocal output. Damschroder
reformulates the apparatus for Roman-numeral harmonic analysis,
integrating his own speculations with various strands of historical
analytical thought, including Schenkerian principles and historical
perspectives. In addition, he juxtaposes his readings of complete
movements by Schubert with discussions of how they have been
interpreted by other Schubertian analysts. The book sets a new
direction for the future of music analysis, proposing innovative
improvements on existing methodologies.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Tenet
John David Washington, Robert Pattinson
Blu-ray disc
(1)
R54
Discovery Miles 540
|